Release Date January 30th, 2009
Online Archive of Film Critic Sean Patrick
Movie Review New in Town
Release Date January 30th, 2009
Movie Review: Chicago
Chicago (2002)
Directed by Rob Marshall
Written by Bill Condon
Starring Renee Zellweger, Catherine Zeta Jones, Richard Gere, Queen Latifah, Taye Diggs
Release Date December 27th, 2002
Published December 26th, 2002
The play Chicago dates back to 1924, a non musical play inspired by a pair of real life murder cases in which woman were accused of murdering their lovers. It was adapted for the screen two times, including a version called Roxie Hart starring Ginger Rogers. It wasn't until 1974 that Chicago the play became Chicago the musical. Bob Fosse and partner Fred Ebb took the story and added sensational song and dance, and Fosse's trademark raunchiness, to make a play that while popular, it wasn't initially the massive hit many had expected.
In 1996 a revival of Fosse's Chicago, the musical was brought back to Broadway, but slightly tweaked. With a little less raunch and a slightly less cynical tone, the all new Chicago the musical was now a smash hit. The revival went on to earn 9 Tony Award nominations and win 7 Tony Awards over. Now, 6 years later, it is the revival version of Chicago that comes to the silver screen and unfortunately, they may have done better with Fosse's version.
Set in 1924, Chicago centers on a pair of scandalous murders that splash across the front pages of Chicago's trashy newspapers. One case is that of a chorus girl named Velma Kelly (Catherine Zeta Jones), who shows up at a jazz club for a performance a little late and without her dance partner. Velma and her sister Veronica were becoming famous for their double act, but on this night, it is just Velma on stage performing their signature routine to the tune of All That Jazz. We quickly realize as the police arrive that Velma has murdered her sister after finding her in bed with her husband.
In the audience on that night as Velma was taken away by the cops, is a starry eyed, dim bulb blonde named Roxie Hart (Renee Zellwegger). At the club with a man who is not her husband, Roxie is expecting her boyfriend will speak to the manager about putting her onstage to perform. Cut to a month later Velma is in jail and Roxie is still waiting for her man to make her a star. However, when he admits he made up the story just to sleep with her, Roxie shoots and kills him.
When Roxie's husband Amos (John C. Reilly) comes home from work she convinces him the man was a burglar and tries to get Amos to take the fall. However after Amos finds out that the burglar is a guy he knows he changes his tune and Roxie is off to murderesses’ row where she will share a cellblock with the celebrated murderers of the day, husband killers whose brief glimpses of fame have dimmed as the gallows loomed over them. Among those celebrated killers is none other than Velma Kelly.
Though Roxie tries to insinuate herself into Velma's world behind bars, the two are not friends. Velma only sees Roxie as someone trying to take her spotlight. Roxie meanwhile, after being rejected by Velma manages to convince her idiot husband to hire Velma's high profile lawyer Billy Flynn (Richard Gere). With this move by Roxie, it becomes a war between Velma and Roxie to see who can make bigger headlines and hold the attention of their glory hound lawyer the longest. Billy Flynn's only interested in whichever client is on the front page that day.
Director Rob Marshall, a veteran of the stage making his film debut, crafts a quickly paced and exuberant film that combines the best of old time Hollywood glamour with modern panache and star power. Though unlikely choices for the leading roles, Renee Zellweger and Catherine Zeta Jones's star quality helps to nail their temptress roles with surprisingly strong singing and dancing, aided no doubt by Marshall's quick cut style.
The biggest surprise in Chicago however, is Richard Gere. Forget surprise, Gere is a revelation. Though his singing could use some work, Gere's vibrant enthusiasm and energy carries you past any reservations you may have about his singing. In his best moments, Gere blows everyone else off the screen. In particular, a courtroom tap-dance near the end of the film is truly spectacular and in a film with a number of standout numbers, Gere manages to craft best performance of the film.
I have a few issues with this Broadway adaptation however, issues that keep me from fully embracing the film as a truly great movie. The first issue is the staging of the musical performance. All of the musical numbers are bound to Broadway style proscenium stages. Director Rob Marshall binds the movie to the stage and fails to take advantage of the dynamic film medium for staging. Marshall seems to think he is tied to the Broadway stage interpretation of each song.
Then there is the film’s tone, which wants to be bawdy comedy but can't go as far as it would like in fear of offending the family audiences. Adhering closely to the toned down revival version of Chicago, the film contains little of Fosse's raunchiness that marked his 1974 version. What Fosse's version did was frame the sensationalistic stories with bawdy comedy and a masterful turn of innuendo. There is little of that fun in this Chicago, save for Queen Latifah's "What Mama Wants.” The comedy in Chicago never finds a rhythm to match the music.
What made Fosse's version interesting, if not great, was its ability to drag the audience into the gutter with its characters. The raunchiness and the fearlessness of the characters was transgressive and exciting. With this toned down version of Chicago, you don't get the thrill that Fosse intended. Instead it's like watching the OJ Simpson trial, you can't help but admire the sheer audacity of Johnny Cochran, but you still hate OJ and you likely weren't rooting for him.
In Chicago you can't help but admire Gere's Billy Quinn for his Razz Ma Tazz three ring circus, but Zellwegger's Roxie Hart is still a terrible person. This fact about Roxie is confirmed by the film’s only truly sympathetic character, John C. Reilly's Amos Hart. Sympathetic or just pathetic, Amos' big number "Mr. Cellophane" is the films one moment of emotional involvement. The rest of Chicago lingers somewhere in an uncanny valley of toned down dark humor, bloody murder crossed with big brassy musical numbers, all pitched to reach the back of the theater. It's a sloppy tone the film never wrestles into cohesion.
Comparing Chicago to a similar but far superior movie such as Moulin Rouge would be unfair. Baz Luhrmann is a veteran filmmaker who is aware of all the tools available to him in the film medium. In Moulin Rouge, Luhrmann was working from material of his own creation in a realm he's comfortable creating in. Rob Marshall is still learning about the difference between directing a film and directing for the stage and I believe he has a bright future in Hollywood. Chicago is a good start, a flawed but brave attempt at a big screen musical that demonstrates Marshall's promise as a director while coming up short on the promise of the movie itself.
Movie Review: X-Men The Last Stand
X-Men The Last Stand (2006)
Directed by Brett Ratner
Written by Simon Kinberg, Zak Penn
Starring Hugh Jackman, Halle Berry, Patrick Stewart, Kelsey Grammer, Elliot Page, Shawn Ashmore
Release Date May 26th, 2006
Published May 25th, 2006
Director Brett Ratner is a hack. That is the reputation he has earned over a career of nine features including two Rush Hour films (and soon a third), Red Dragon, The Family Man and After The Sunset. Each of these are examples of the basic mainstream formula pictures that few would call innovative or relevant. Ratner is a mainstream showman who works only from studio approved genre templates and thus, the label of hack, is appropriate.
Ratner's style is safe, conventional and boring. So it was quite understandable that when Ratner was hired to direct the third film in the X-Men series, X-Men The Last Stand, longtime fans gnashed their teeth and prayed to whatever mutant god that controls such matters that Ratner not be allowed to screw up their beloved franchise too much. The fans prayers have been answered, for the most part. Though X-Men: The Last Stand has plot holes you could drive a truck through and cringe inducing moments unsuitable to the franchise, Ratner has not screwed the thing up too bad. Actually it's not that bad at all.
X3 turns on the idea that a wealthy industrialist has discovered a cure for the mutant X gene. It's a revelation that rocks the burgeoning mutant community at a time when a tentative peace had come between mutants and humans. The President of the United States (Josef Summer) even has created a dept. of mutant affairs headed up by a mutant, Dr. Hank McCoy aka Beast (Kelsey Grammer). The cure while good for some mutants is a divisive and even deadly issue for others.
Standing against the cure is Magneto (Ian McKellen) who, with his brotherhood of mutants, including Mystique (Rebecca Romijn) and Pyro (Aaron Stanford), plans to use the cure as a rallying cry for mutants to renew the war against humanity. Then there are our heroes the X-Men. Conflicted and confused, most are opposed to the idea that mutants are in need of a cure but against any kind of war with humanity, the X-Men are caught dead set in the middle.
In the midst of the controversy the X-Men face an even bigger crisis. Jean Grey (Famke Janssen), thought dead after the last major X-Men conflict, is alive but she is no longer the Jean Grey the team once knew. Her near death experience has released her secondary personality known as the Phoenix, a being of unimaginable and uncontrollable power and rage. With war on the horizon and Jean Grey an even greater danger than that war, X-Men The Last Stand is bursting at the seams with plot.
Throw in the introductions of several long awaited X-Men characters and you can understand the herculean task that Director Brett Ratner endured in making X-Men The Last Stand. That X3 is as coherent as it is with all of that plot and so many characters is a credit to Ratner. Not that I can let him off the hook completely for the films many flaws but even the biggest Ratner hater out there must cut the guy some slack for the sheer massiveness of X-Men The Last Stand.
Where Ratner succeeds in X3 is in crafting some serious blockbuster action scenes. A fight with Wolverine (Hugh Jackman) and Storm (Halle Berry) facing down Magneto's brotherhood, including Pyro and new members including the super strong Juggernaut (a massively muscled up Vinny Jones) and the empathic speed demon Callisto (Dania Ramirez), is terrific, fast paced action and a terrific lead up to the films most shocking moment.
The ending is the films strongest moment as Wolverine is forced to face off with Jean Grey/Phoenix as she prepares to destroy the entire planet. The scene is exciting and emotional incorporating massive special effects and the entwined histories of these two characters into one powerhouse scene. Predominant amongst the films flaws however, are the younger X-Men, especially Shawn Ashmore as Iceman. The dewey eyed teenage Iceman is an emotional cypher who lacks power and presence. Iceman's main plot function is as the opposing element to Aaron Stanford's Pyro but since Stanford is also an underwhelming presence their time together onscreen is forgettable at best.
The less said about Iceman's romantic triangle subplot with Anna Paquin's Rogue and Elliot Page's Kitty Pride (the girl who can run through walls) the better. I could go on for several more paragraphs picking apart the flaws of X-Men The Last Stand even though I honestly believe that the good outweighs the bad. Brett Ratner's work is not exactly a masters class in direction but it is competent and professional and even thrilling when it really needs to be. The performances of the leads Hugh Jackman and Halle Berry are as good as they have been in the first two films with Jackman's wit becoming more prominent each time out. His work here makes talk of a Wolverine stand alone franchise something to look forward to.
Kelsey Grammer even cuts a surprisingly strong action hero figure as Beast. Fans of the comics have long looked forward to seeing the blue haired monster Dr. Hank McCoy with his unique combination of super strength, agility and erudite intelligence. Embodied by Kelsey Grammer, Beast has the gravitas of Dr. Frasier Crane combined with agility and strength of a classic comic book character. If you can put aside the flaws and concentrate on the terrific performances and often exceptional action scenes and shocking surprises of X-Men The Last Stand you will have a great time. X-Men The Last Stand is big time summer blockbuster entertainment.
Movie Review Inception
Inception (2010)
Directed by Christopher Nolan
Written by Christopher Nolan
Starring Leonardo DiCaprio, Marion Cotillard, Tom Hardy, Elliot Page, Ken Watanabe, Michael Caine
Release Date July 16th, 2010
Published July 15th, 2010
“Inception” is the best movie of the year. Combining a mind melting metaphysical conceit with a wildly entertaining story, “Inception” from director Christopher Nolan is not merely some exercise in high minded, arty filmmaking, it's also a rollercoaster ride of emotion and action like little you have seen since the last time Christopher Nolan blew your mind with “The Dark Knight.”
”Inception” stars Leonardo DiCaprio as Cobb, a globetrotting con man whose milieu is not seedy bars or corporate boardrooms but rather, the depths of the human psyche. Cobb can enter your mind through your dreams but unlike Freddy Krueger he's not here to kill but to rob you of your deepest, most well protected secrets.
With his team, including Arthur (Joseph Gordon Levitt), Eames (Tom Hardy, Bronson), Ariadne (Elliot Page) and money man Mr. Saito (Ken Watanabe), Cobb sneaks into the subconscious of a corporate heir named Robert Fischer (Cillian Murphy). This job however, is different from the team's usual theft of secrets, this time they are attempting an Inception wherein they planting an idea in Fischer's mind in hopes of influencing his future.
Complicated? It sure sounds complicated but under the skilled direction of Christopher Nolan and the guiding performance of Leonardo DiCaprio, Inception is only rarely mystifying. The story is elaborate and exceptionally well put together and even at 2 hours and 40 minutes it floats by like a dream, one you can't help but remember.
I am being intentionally vague as too much information could spoil the fun. I will tell you that Oscar nominee Marion Cotillard plays Cobb's wife and it's a performance that exceeds even the genius of her Oscar winning role in “La Vie En Rose.” The way Cotillard's character, Mal, is woven into the plot will blow your mind in the most unexpected ways.
”Inception” is exceptionally well directed and intricately plotted and features career best performances from DiCaprio, Cotillard, Joseph Gordon Levitt and Elliot Page. Rounding out this cast are veterans Michael Caine, Pete Postlethwaite and Tom Berenger, all of whom bring something unique and fascinating to this remarkable, epic dreamy adventure. “Inception” will require further examination and discussion but that can wait for the DVD release. For now, avoid the spoilers and experience “Inception” for yourself. We’ll talk more about it later.
Movie Review: Vox Lux
Vox Lux December 2018
Directed by Brady Corbet
Written by Brady Corbet
Starring Natalie Portman, Jude Law, Stacy Martin, Jennifer Ehle, Raffey Cassidy
Release Date December 18th, 2018
Published December 17th, 2018
Vox Lux is rarely the movie you think it is going to be. The plot indicates something arty and pretentious about the nature of pop stardom but the reality is something far more thoughtful and indelible. Writer-director Brady Corbet frames his pop music diva, played by both Raffey Cassidy and then by Natalie Portman, as the living embodiment of modern American culture.
I get that that is a big notion but I feel the film pulled off really well. The single named character Celeste is a pretty strong metaphor for our times. Her recent, relatively young history is dotted with a tragic school shooting followed by a rocket ship to fame. She’s drug addled, possibly alcoholic, unstable, a single mother, and perhaps the best endorsement imaginable for mood elevating drugs. If that doesn’t craft a picture of America in the 2000’s, I don’t know what does.
Celeste is basically a walking reality show with all of the cameras on her all the time and her fame obscuring her sense of any reality. Then there is the violence. In a prologue set in 1999, not so subtly the same year as the Columbine shooting, Celeste was the victim of a school shooter. While most of her classmates were killed, Celeste survived, though with a bullet permanently lodged near her spine.
Her first act after leaving the hospital is to play a song on national television next to her talented sister, Ellie (Stacy Martin), the living embodiment of survivor’s guilt whose permanently attached herself to her sister’s side. Ellie was supposed to have been at school that day but she was home sick. For the next 20 years Ellie will be constantly at her sister’s side, even as much of that time she becomes her sister’s victim.
Celeste has quite a temper and an attitude that you are not expecting. Portman lays on a thick Long Island accent and it really works to give the character a unique dimension. As a teenager, the character barely spoke above a whisper and with a halting and singular tone. Portman mirrors the halting tone but the voice is louder, harsher and weathered from years of smoking and a brutal touring schedule.
No joke, you could discern a life’s journey from the way Natalie Portman modulates her voice and accent in Vox Lux. It’s an uncanny performance and one most actors could not pull off on their best day. Portman is electric in this role and backed up by the music of Sia, she pulls off pop super diva in a big way. I bought into Celeste the moment Portman stepped into the role, in the second act and by the time we reached the film’s concert climax I lost track of the star and was watching pop goddess on stage.
Is the music good? That depends on your taste but that is entirely beyond the point. The point here is the presentation in all of its gaudy excess. I’ve never understood what exactly pop stars in concert are going for with these bizarre, other-worldly, stage antics but Vox Lux makes a unique case for how they come to be. At a certain point, performing the same songs, the same way, for months and years becomes stale and slapping on a new coat of paint with bizarre costumes and choreography is the only way to beat the tedium.
The film doesn’t make the statement quite as bluntly as I just did but the message is clear. Even with the updated on stage presentation the stiffness of the performance comes through as if Celeste were performing by rote, mimicking in a way our own performance, our daily routines that we’ve got down to a predictable science. There is a deathlessness to the performance that comes through in Portman’s eyes, this has become so second nature for her that she could do it in her sleep and yet they still cheer.
That’s not to indicate that the film has any opinions of Celeste or the kinds of people who flock to her brand of brainless entertainment. The film makes a strong case for why anyone would want to turn their brain off and just be entertained by the shiny lights and propulsive beats. The faux empowerment lyrics and empty love songs are a panacea for the audience and the performer who’d also like to just forget the world for a while.
Vox Lux is a giant bullseye of a metaphor for our modern culture. Unstable, violent, unpredictable, obsessed with fame and money, gaudy and eccentric. The movie is a rather ingenious microcosm of our current state of affairs. That Vox Lux is not some kind of bloated, monstrous, obsessed with itself, mess of a movie is quite a testament to the talent of star Natalie Portman and writer-director Brady Corbet who’s made one heck of a great feature directorial debut.
Movie Review Smart People
Smart People (2008)
Directed by Noam Murro
Written by Mark Poirer
Starring Dennis Quaid, Elliot Page, Sarah Jessica Parker, Thomas Haden Church
Release Date April 11th, 2008
Published April 10th, 2008
A terrific cast attempts to cover the flaws of an irritatingly self satisfied screenplay and amateur direction in Smart People. Working against type Dennis Quaid impresses but is left adrift while Oscar nominees Elliot Page and Thomas Haden Haden Church try too hard to leave behind their defining performances behind. Then there is Sarah Jessica Parker who essays the only interesting character in this movie but is undone by the movie itself when, late in the film, things go completely off the rails.
Lawrence Wetherhold (Dennis Quaid) is a brilliant but socially inept literature professor at Carnegie Mellon University. His wife died a while back and he has yet to even try to move on, every item of her clothing remains upstairs in a second bedroom that was her closet. Lawrence's daughter Vanessa (Elliot Page) has taken on most of the wifely tasks, cooking, cleaning and such, even seeming to raise herself in her father's pompous, intellectual image. While Lawrence awaits word from publishers on his latest intellectual screed on an obscure literary legend, Vanessa is waiting for word from Stanford and studying far too diligently for a perfect SAT score.
Their version of domestic bliss is upended when jerk Lawrence tries to retrieve his car from an impound lot and ends up falling after climbing over a fence. The fall causes a seizure and that means he can no longer drive. When Vanessa refuses to be his chauffeur she allows Lawrence's adopted brother Chuck to move in in exchange for becoming his driver. The situation is entirely unsuitable for Lawrence who has long ago tired of his brothers constant mooching and get rich quick scheming. Meanwhile, in the hospital Lawrence meets Janet Hartigan (Sarah Jessica Parker), a doctor and former student of his whom he graded poorly but now he is desperate to somehow impress.
These four Smart People begin a series of collisions and disruptions of each other's lives that seem as if they should be entertaining. Instead, Smart People is a movie that just sort of happens and then it's over. It seems as if it should be funnier than it is. The talented cast makes you believe it is more charming than it really is. Director Noam Murro's competent direction contributes to the idea of Smart People as a smart movie. Further post film reflection however brings about the revelation that there really isn't much too Smart People at all.
Mark Jude Poirier wrote the script for Smart People but his real contribution to the film is a quote in the New York Times in which he marvels at the fact that Smart People is a movie where not much really happens. A film about nothing? Seinfeld this is not. Smart People is actually about something but figuring what that is would require us to spend more time with these rather boring, self absorbed characters. Lawrence's defining trait is pomposity and Dennis Quaid eats a good deal of screen time demonstrating that quality. Thomas Haden Church gets to be the funky, pot smoking uncle but it makes him no less self absorbed.
Elliot Page takes on the role of Vanessa as if it were a repudiation of her Juno character. Don't worry, the smartassy sing-song sarcasm is still in place but it comes with a character who is an overachieving young republican with no friends and a seriously odd obsession for the clothing of a casual Laura Bush. As for Parker, she doesn't come off as terribly self absorbed except when she is the victim of some seriously poor editing and directorial decisions late in the film. It seems that several important scenes that might explain some of her character's bizarre actions late in the film were cut for one reason or another. This leaves the character of Janet looking shrewish and off putting because her actions are almost entirely without motive.
Movie Review: Whip It
Whip It (2009)
Directed by Drew Barrymore
Written by Shauna Cross
Starring Elliot Page, Kristen Wiig, Marcia Gay Harden, Drew Barrymore, Juliette Lewis
Release Date October 9th, 2009
Published October 8th, 2009
As a kid I watched Roller Derby on Saturday nights. I never quite understood how the game was played but I loved the violence, the speed and the quirky humor. But the one thing that really stood out for me were the women. It was a mixed league where guys did a round then the ladies. I remember these women, some were giants and some were tiny and quick. It fostered in me a love of tough chicks. Whip It is a movie about the women I admired on Saturday nights. The bruisers and the speedsters. Beyond their toughness, director Drew Barrymore finds heart, humor and love while never losing that violent, attractive toughness that some call Grrl Power. Whateve they call it, I love it.
Elliot Page is the star of Whip It as Bliss Cavender. Trapped in a tiny Texas town where her overbearing mother (Marcia Gay Harden) forces her to compete in teen pageants, Bliss longs for something more. What that something more is, Bliss doesn't know yet. It finally becomes clear to her when, on a shopping trip to Austin, she spies girls on roller skates handing out flyers for Roller Derby.
Enlisting the help of her best friend Pash (Elia Shawkat), Bliss attends the match and it's love at first sight. When she hears about tryouts for her new favorite team, the Hurl Scouts, she pulls out her Barbie roller skates and hops aboard a senior shuttle to Austin and begins a secret life under her new name "Babe Ruthless".
All the roller girls have nicknames. There is Smashley Simpson (Barrymore), Maggie Mayhem (Kristen Wiig), Bloody Holly (Zoe Bell) and Rosa Sparks (Eve) on the Hurl Scouts. On the other teams there is Eva Destruction (Ari Graynor) and the leagues top roller Iron Maven (Juliette Lewis). The names are part of the fun and bonding that give the film it's quirky heart.
Naturally, there is also romance in Bliss's new life as she meets and falls for a boy, a rocker played by newcomer Landon Pigg. While the romance blossoms and Bliss becomes a star there is inevitably trouble on the horizon. A requirement of this plot is her parents finding out and Bliss being separated from all that she loves. How Director Barrymore plays these scenes I will let you see for your self. I will say that while she cannot escape convention, Barrymore shows more skill with the expected scenes than a lot of mainstream directors who grow lazy in the face of convention.
The cast of Whip It is pitch perfect. Lead by the star turn of Elliot Page, leaving Juno behind growing into a movie. Alia Shawkat is a terrific comic foil with whom Page has great chemistry. The scene stealer however, is Kristen Wiig as Maggie, the heart of her team and just the right person to guide Bliss. Ms. Barrymore gives herself a remarkable role as well, one that requires her to put aside any and all star ego and just give in to pure excess. It's a very funny performance. Juliette Lewis makes a good villain, vulnerable but with the strength to kick the ass of anyone who takes notice of that vulnerability.
Marcia Gay Harden has not been this good since her Oscar winning role in Pollack. Her role is conventionally villainous but she short circuits that with humor and a painful longing that makes her sympathetic even as she is standing in the way of all of the fun. Paired with Daniel Stern as Bliss's sports addicted father, Harden is the perfect combination or harridan and heart.
Whip It is too predictable to go from a good movie to a great one but for what it is, it's a terrifically realized comedy with heart and humor and best of all characters we quickly come to love and care about. My memories of Saturday Night Roller Derby on cable are fuzzy now but I hope that behind the scenes things are something resembling this movie. I still love tough chicks.
Movie Review: V for Vendetta
V for Vendetta (2006)
Directed by James McTiegue
Written by The Wachowski's
Starring Hugo Weaving, Natalie Portman, Stephen Rea, Stephen Fry, John Hurt
Release Date March 17th, 2006
Published March 16th, 2006
The most controversial movie of 2006 has arrived. V For Vendetta, based on the graphic novel by Alan Moore, has been accused of subversion and supporting a terrorist agenda. The question then must be: Does V For Vendetta put forth a terrorist agenda? The answer, because this is such a wonderfully smart and complex film, is yes and no.
Yes, the character of V, portrayed by Hugo Weaving, uses terrorist tactics and his goals are most definitely subversive. However, in this dystopian vision of the future, V's reign of terror is aimed at a totalitarian government that can only be fought with guerrilla or terrorist tactics. Those who can think with both sides of their brain will understand this complex division of ideas. For the myopic and agenda driven however V For Vendetta is a threatening shot across the bow.
In the year 2020, England has fallen under the sway of a militaristic dictator named Adam Sutler (John Hurt). Exploiting a tragedy that killed hundreds of thousands in the early years of the 21st century, Sutler was able to impose his dictatorship by playing on the fears of society, especially fears of the kind of chaos that had thrown the U.S, in this vision of the future, into a wildly violent civil war.
The new English dictator censors all art forms and removed or edited British history to match the new dictator's worldview. However, one thing he cannot censor is a bizarre masked character calling himself V (Hugo Weaving). Hiding behind the grinning porcelain veneer of the 17th century English terrorist Guy Fawkes, V strolls the darkened streets of London righting injustice and launching masterpieces of violent uprising.
In the early hours of the 5th of November, the date that, in 1606, Guy Fawkes attempted to blow up parliament in what was called the gunpowder treason, V has hatched an elaborate plan to wake up the citizens of London to the tyranny of their government. But first V intercedes when he finds three of London's secret police, known as Fingermen, attacking a young woman named Evey (Natalie Portman). Saving Evey's life, V invites her to witness his symphony of violence that includes major fireworks and the destruction of the British landmark the Old Bailey courthouse.
Later, V tells a captive nationwide audience, in a pirate broadcast, that one year from that date, he will blow up parliament and invites everyone with an issue with the government's fear tactics to join him. In the meantime V will be exacting revenge on the men who turned him into a masked vigilante. A series of murders, all connected to the tragedies that lead to Adam Sutler winning power. Stephen Rea plays the head of the British police charged with finding V who, in the process, ends up uncovering more than he wants to know about his government.
Evey and V have a past that is linked in ways neither is fully aware of. Her parents and younger brother were victims of the plague that gave rise to the current government as was V. Evey (as played by the lovely Ms. Portman) gives the film its conscience and story arc. Her slow awakening to radicalism, and what some would call terrorism, is where the film finds its socio-political backbone. At first she questions V's tactics and motives, giving us in the audience a chance to do so as well. Once she comes around we likely already have but it makes for a few of the films big dramatic moments.
The cast of V For Vendetta is sprawling and spectacular from top to bottom. John Hurt perfectly embodies the vengeful power-hungry chancellor. His presence also offers the ironic humor of his having played protagonist Winston Smith in Orwell's 1984, now graduated to playing Big Brother. Stephen Fry appears, all too briefly, as a talk show host, Evey's closest friend, and a man with a deep secret that provides yet another deep and abiding principle that the writers Andy and Larry Wachowski wish to exploit.
Many nods to the British stage also mark this cast, from Timothy Pigott Smith as the Chancellor's hatchet man, to Rupert Graves as Rea's detective partner, to Roger Allam as an unctuous TV commentator who evinces more than a little Rush Limbaugh in his bombastic oratory.
Written by Andy and Larry Wachowski, V For Vendetta has the excitement of the Matrix films but with a bigger brain. Directed by Matrix second unit director James McTeigue in his feature debut, V For Vendetta is also as visually accomplished as The Matrix pictures--high praise for a first time director. I don't mean to imply that V For Vendetta is superior to The Matrix, though it is superior to the lackadaisical sequels.
What separates V For Vendetta is the ideas behind it. There are a myriad of interpretations of exactly what the Wachowskis were attempting to say with this picture. When V For Vendetta debuted as a graphic novel from Alan Moore, it was an allegory for the Margaret Thatcher administration in England in the '80s. Updated to our times some see this version of V For Vendetta as veiled attacks on either George W. Bush, Tony Blair, or both. If you want to follow that line you can, but V For Vendetta is not that simple to pin down.
Yes there are references to America's war leading to the chaos of this future society. Director James McTeigue also makes an obvious visual reference to the Abu Graib prisons in Iraq. But the film is more accurately an attack on a government out of control and the way absolute power corrupts absolutely. The films ideology could be compared with the logic offered by the National Rifle Association in America which posits that the people have the right to bear arms so that if the government ever became a threat the people could fight back.
V For Vendetta takes that theory to a particular conclusion as the people of Britain, lead by V, begin to fight back against the tyrannical leadership. Yes, V's tactics and ideas could be defined as terrorism. When V talks of how blowing up a building can be a revolutionary act you cannot help but make the queasy connection to 9/11. That however is not necessarily the context of V For Vendetta.
Taken specifically within the guidelines of the plot this line of logic from V is merely the only way for the people to fight back against a government run amok. Think of it in terms of North Koreans rising to blow up symbols of dictator Kim Jong Il, or the people of Iraq attacking Saddam's palaces and you have a better corollary to the mindset of V For Vendetta.
V For Vendetta is bathed in coolness from beginning to end. The reflected glory of rebellious writer Alan Moore should inspire fanboys despite Moore's disassociating himself from the film after reading the script. Then there are the Wachowskis, whose cache of cool remains intact despite the mixed results of the Matrix sequels and the brothers' personal stories which have made for some interesting tabloid fodder.
The film's outlaw spirit and exceptionally well-staged violence are the big draws and they do not disappoint. V For Vendetta is exciting, thought provoking and darkly humorous. The film encompasses the ideas of revolutionary politics and righteous martial arts violence in ways we have never seen before on film and that makes it at once relevant anti-establishment filmmaking and kickass blockbuster action movie.
If watching a movie can be a revolutionary act, then V For Vendetta could inspire generations. Not inspire them to blow up buildings, but rather to watch closer for the signposts of corruption and fear mongering, which many fear are already being seen throughout the free world. V For Vendetta is powerful filmmaking with the punch of social commentary wrapped in the popcorn goodness of the mainstream blockbuster. This is one of the best films you will see in 2006.
Movie Review The Darjeeling Limited
The Darjeeling Limited (2007)
Directed by Wes Anderson
Written by Wes Anderson
Starring Owen Wilson, Jason Schwartzman, Adrien Brody, Angelica Huston, Natalie Portman
Release Date October 26th, 2007
Published October 25th, 2007
Director Wes Anderson is spinning his wheels. Seemingly unable to make a movie with a point after the funny, insightful Rushmore and the quirky Royal Tenenbaums, Anderson's The Life Aquatic With Steve Zissou and now The Darjeeling Limited are masturbatory exercises in style and precociousness. Their saving grace is good natured humor but that doesn't make them any less shallow.
Admit it Wes fans; we were expecting something more here.
The Darjeeling Limited is the name of a fictional train route through a few small villages in India. On this train three American brothers, Francis (Owen Wilson), Peter (Adrian Brody) and Jack (Jason Schwartzman), have gathered for a spiritual journey. Peter and Jack are under the impression that Francis, the oldest of the three, has brought them together to reconnect as brothers. In reality, Francis is leading them to a remote convent where their mother (Angelica Huston) has taken up residence.
The trip to see mom is the framing device for a series of revelatory moments for each of the brothers who slowly reveal their secrets to each other and come to terms with why they haven't spent much time together since their fathers death and an incident on the day of his funeral that sent them in different directions.
Director Wes Anderson seems to be stuck in a rut. After Rushmore and The Royal Tenenbaums he seemed destined for great things. In two consecutive features since; Anderson is caught up being overly precious and even cute in the way he toys with dialogue and with visuals. Some could fairly describe him as dicking around hoping to stumble on something insightful. He rarely finds anything in The Darjeeling Limited.
Arguably the most notable aspect of The Darjeeling Limited are the disturbing real life imitates art scenes with Owen Wilson. Just before Darjeeling was leaving the station, Wilson attempted to take his own life. The same thing happens to his character in the film who survived his own attempt at suicide. It's not Wes Anderson or the film's fault that such a coincidence happened but it does cast a pall over the otherwise good natured proceedings.
The true subject of The Darjeeling Limited may be a distinct sense of ennui. These characters are bored and so is Wes Anderson. In fact, so are we in the audience. Jason Schwartzman's Jack is plagued with ennui as evidenced in the short feature, Hotel Chevalier, that precedes The Darjeeling Limited. In this brief backstory we see Jack with, presumably, his girlfriend played by Natalie Portman. The two go through the motions of familiar interaction but the sense that they bother each other in order to stave off boredom is quite clear.
Adrien Brody's Peter deals with ennui by stealing or 'borrowing' his brother's and late father's things. His boredom isn't as plagung as Jack's and is also far less interesting. On the bright side, oldest brother Francis may have dealt with his ennui by attempting suicide, so the stealing is at least somewhat healthy by comparison. It's all very European and arty to make movies about characters who are disaffected, bored and longing but often in Europe those feelings are the run up to some kind of breakthrough or revelation.
In The Darjeeling Limited we get a cheap homage to revelation. The ending features the kind of ironic distance that was very much in style in the late nineties when hipsters had an allergic reaction to anything remotely earnest. This is not to say that The Darjeeling Limited isn't well crafted and oddly fascinating. It's just, for me personally, watching an artist drown in his own self satisfying disaffection is kind of boring.
Movie Review No Strings Attached
No Strings Attached (2011)
Directed by Ivan Reitman
Written by Elizabeth Meriweather
Starring Natalie Portman, Ashton Kutcher, Cary Elwes, Kevin Kline
Release Date January 21st, 2011
Published January 20th, 2011
It's becoming a modern movie affliction; movies that are more ideas than movies. "The Dilemma" is a good example: How do you tell your best friend that his wife is cheating on him? Good idea but that was all anyone seemed to come up with and the film flailed about hoping the cast would find something funny to do. More often than not, the cast never found anything.
"No Strings Attached" is another example of this affliction. The idea is simple: Can two people have a sexual relationship without feelings getting in the way? And, much like "The Dilemma," no one really thought of anything more beyond that idea and thus stranded a charming cast, lead by Natalie Portman and Ashton Kutcher, in a plotless mess where only occasionally does someone find something funny to say.
Adam and Emma met briefly in Summer Camp as teenagers when an awkwardly distant Emma attempted to comfort a sad Adam and he offered a clumsy teenage come on. They met again in College at a frat party when Emma asked Adam to a family function that turned out to be a funeral. You know how you invite strangers on dates to funerals, so funny. And they met again one year later at a random farmer's market where Adam got Emma's phone number right in front of his girlfriend, because our main character is a total jerk.
Much would seem to stand in the way of these two bad-timing having folks getting together but when Adam gets blitzed after his girlfriend leaves him for his TV star father (Kevin Kline, in a shocking cameo) he ends up naked on Emma's couch and eventually in her bed. Emma is now a medical resident working ungodly hours in order to become a doctor; she has little time for a relationship. What she does have time for however is hook ups and booty calls and lots of them. Yes, Adam is given what we are to believe is the dream relationship for all emotionally stunted men 'Sex Buddies.'
So why is Adam so miserable? It turns out, in what would be an interesting twist in a better and far more thoughtful and unique film, Adam is not the typical immature boy-man that he might seem. Too bad he has fallen for an emotionally walled off nut case that could only exist in the pages of an under-written romantic comedy.
The eminent critic Mick Lasalle of the San Francisco Chronicle made an interesting point about Ashton Kutcher and his movies. To paraphrase Lasalle: Ashton Kutcher's been in a number of bad movies but he's never been all that bad in those movies. Indeed, Kutcher is an appealing screen presence who delivers more than what is on the page to his characters. He just chooses some truly horrible movies.
"No Strings Attached" is a pretty horrible movie in which Ashton Kutcher is, as usual, not that bad in. Ashton gives the character charm and a soulful, puppy dog quality. The problem is that the rest of the film is such a shambles. Director Ivan Reitman and writers Elizabeth Meriwether and Michael Samonek seem to have an idea for a movie but fail to deliver characters whose motivations from scene to scene are consistent and instead they rely on hit and miss sitcom jokes that hang off of the film's premise.
Poor Natalie Portman is the biggest victim of the hit and miss style of "No Strings Attached." Portman's Emma is called upon to be an emotional disaster reeling from one motivation to the next at the whim of whatever comic notion struck director Ivan Reitman in the moment.
At one moment Reitman finds it funny for Emma to invite a strange man on a date to a family funeral. In the next she's giving her phone number to a guy in front of his girlfriend. In the next she seeks a purely sexual relationship. Then she gets drunk and jealous. Then she tells him to sleep with other women and then she's jealous again. Each time Emma is led to look like a fool because no one bothered to give her a back-story that might lend context to her oddball behavior.
Making matters worse in "No Strings Attached" is a sensational supporting cast that drowns in the wake of the creators’ lack of any clue what to do with them. Kevin Kline as Adam's father is a heedless hedonist whose love of drugs and sex is supposedly funny because he's old. That's the joke, he's old. I imagine that Reitman thought hiring Kevin Kline was all that he needed to make this character work and that's not an unreasonable notion, but even Kline's charm can't get around how misbegotten Reitman's direction of No Strings Attached is.
Lake Bell plays Adam's co-worker who clearly has a crush on him. Here, the film adds a strange sort of cruelty as nice guy Adam is asked to flirt with Bell's Lucy while pining for crazy Emma. If Lucy were a bigger nutcase than Emma or maybe just mean in some way then his behavior toward her might be excusable. Instead, Lucy and Adam have an uncomfortable and brief courtship before she is shuffled off into another character's jockey send off.
The brilliant Greta Gerwig from “Greenberg” is wasted in the role of Emma's best friend, sweetly paired off with Adam's best friend Eli (Jake M. Johnson) in one of the film's many thrown away plots. And The Office star Mindy Kaling is brought in to deliver a few tart one liners that sound as if she wrote them herself. Kaling's character exists only for one-liners and to her credit they are the funniest moments in the film.
There are parts as well for rapper Ludacris, Cary Elwes, and Juno's best pal Olivia Thirlby but nothing really of note. It seems at times that everyone in the cast was hired to inhabit a type and then jokes were written to play off of that type and then everything was cut together with fingers crossed that something coherent would emerge.
Sadly, nothing coherent does emerge from No Strings Attached aside from a continuing sense that Ashton Kutcher has talent and really poor taste in material. Like us, Kutcher saw the potential of the idea of No Strings Attached but like the rest of the cast he is left hanging by a creative team that failed to develop anything beyond a premise and a couple of good one liners.
One last note, some Oscar pundits have wondered aloud if No Strings Attached were bad enough to be Natalie Portman’s “Norbit,” i.e the film that some believe sunk Eddie Murphy’s chances of winning Best Supporting Actor for his excellent turn in “Dreamgirls.” The answer is a simple no: “No Strings Attached” is not as bad as “Norbit.” Indeed, few movies have ever been as bad as “Norbit.”
Movie Review My Blueberry Nights
My Blueberry Nights (2008)
Directed by Wong Kar Wai
Written by Wong Kar Wai, Lawrence Block
Starring Norah Jones, Jude Law, David Strathairn, Rachel Weisz, Natalie Portman
Release Date April 4th, 2008
Published April 4th, 2008
Wong Kar Wai is a wonderful artist whose 2046 is a masterwork of sex and cinema. Few people saw that subtitled, Cannes festival honoree mostly because it was subtitled and a hit at Cannes. The fact is, most Americans are turned off by foreign films. Can you name the last foreign film to hit at the American box office? Crouching Tiger, Hidden Dragon? Sure. Can you name another?
Didn't think so.
With popularity in America as his goal, Wong Kar Wai has now brought his ethereal style to our shores and despite the change in geography, once again no one noticed. My Blueberry Nights has a cast featuring Jude Law, Natalie Portman and pop star Norah Jones and even that can't bring in audiences.
Pop sensation Norah Jones is the central character in the odd, slightly charming, My Blueberry Nights. As Lizzie, Jones plays a disillusioned romantic who drops her boyfriend's keys off at his favorite pie shop. This is a popular idea as the owner, Jeremy (Jude Law) has a bucket full of keys, each with their own story of love gone wrong.
Lizzie returns to the pie shop night after night to see if the ex has picked up his keys and to hear stories of lost love from Jeremy who remembers the story of each set of keys. However, before you get the idea that this is about the keys, Lizzie is off on her own adventures leaving Jeremy to his sad little blueberry pies that only she ever ate.
First Lizzie goes down south where she works at a bar. One of her regulars is Arnie (David Straithairn), a cop whose wife has left him. He drinks almost non-stop and the bar owner (Frankie Faison) lets him run a tab that seems to have stretched for years. The ex-wife, Sue (Rachel Wiesz), isn't entirely out of the picture. Parading her new, younger man around the bar and showing up at random moments, she is undoubtedly the source of his drinking. I'll leave you to discover what happens here.
Soon Lizzie is back on the road and arriving in Reno. There she hooks up with a troubled young gambler named Leslie (Natalie Portman). Lizzie loans Leslie all of her money and when she loses everything, she gives Lizzie her car in exchange for a ride to Vegas. There Lizzie is drawn into Leslie's drama with her gambler father. Meanwhile back in New York, Jeremy has been calling all over the south trying to find Lizzie. In their short time together he has fallen in love with her and he desperately hopes to reconnect.
My Blueberry Nights is filmed by Wong Kar Wai through this filter of ethereal dust. Every scene glows with a dreamlike sheen. This would be interesting if it affected the way you perceived Lizzie's journey. However, since Lizzie's journey is so inconsequential the film style doesn't really matter. Indeed Lizzie's journey's have little more to them that what I described.
It all looks really unique but who cares.
It's difficult for me to be so harsh about a movie from Wong Kar Wai but really, WTF? Lizzie travels from place to place, little happens and she is off to the next journey. The stories are ostensibly about love and loss but watching Lizzie react to these happenings is like staring at a brick wall. In her acting debut, Norah Jones shows a talent for being beautiful and little else.
Her Lizzie is our conduit for these stories of love and loss and yet she never really seems to learn any lessons along the way. Here you have a movie with Rachel Weisz and Natalie Portman, two actresses who could have knocked out this role in their sleep and left you weeping, and Wong Kar Wai chooses Jones who's inscrutable expression seems to never change even as the world around her is shouting out its message.
Despite the troubles of lead Norah Jones, My Blueberry Nights has a charm and sweetness to it that is undeniable. Wong Kar Wai is far too talented for this film to become an outright trainwreck. It's just a shame that with a pair of actresses like Ms. Portman and Ms. Weisz at his disposal, Wong Kar Wai chose an overwhelmed first time actress. The role of Lizzie needed the skill and finesse of a veteran to teach it's valuable, if quite familiar lesson, about living for the romantic moment.
Movie Review Mr. Magorium's Wonder Emporium
Mr. Magorium's Wonder Emporium (2007)
Directed by Zach Helm
Written by Zach Helm
Starring Dustin Hoffman, Natalie Portman, Jason Bateman
Release Date November 16th, 2007
Published November 15th, 2007
Writer-director Zach Helm has a masterpiece in his future. A guy with this kind of imagination can't help but find greatness. Helm started his career with the inventive script for Marc Forster's Stranger Than Fiction, a film about a man whose life is narrated and manipulated by a novelist. Now he has moved on to his first directing gig and crafted the brightly imaginative kids flick Mr. Magorium's Wonder Emporium.
Just the kind of film that one would assume was adapted from a kids book, it has that much imaginative detail, Mr. Magorium is entirely the creation of Zach Helm. He was inspired by his time working in a toy store before Hollywood came calling. Assembling a top notch cast, including Stranger Than Fiction co-star Dustin Hoffman and the ethereal Natalie Portman, Helm creates a flawed but good natured family flick without the saccharine taste often attributed to the genre.
Mr. Magorium (Dustin Hoffman) has run his magical toy shop for more than 150 years, by his own count. He has made toys for Napoleon, Lincoln and any number of famous historical figures in his lifetime. Now however, it is time for his career to come to an end and indeed his time on this earth. No, Mr. Magorium is neither sick nor suicidal, it's just his time to go.
Before he leaves however, Magorium wants to make sure that his magic toy store is well taken care of. Ever since she was a young piano prodigy to the time she became manager of the toy shop, Molly Mahoney Natalie Portman) has been unknowingly groomed to take over the store. Now that Mr. Magorium is leaving he wants her to have the store.
Molly has never had a moment's doubt about the magic of the store but her failure to write a grand piano concerto after years of being a prodigy have left her with no belief in the magic within herself. Thus why she refuses to accept Mr. Magorium's offer of the store, and she is especially not ready for him to leave. Meanwhile Magorium hires an accountant, Henry (Jason Bateman) to look into the store's finances and discover the magic himself.
The whole thing about finding the magic within which is quite a cheeseball idea and yet it somehow works. Admittedly I almost choked on the line 'finding the magic within herself'. Nevertheless, that is the point of the film and that is not a bad aim for a kids flick. So many modern kids' flicks can barely claim to have such good intentions, often sacrificing good intentions in favor of loud noise and bright colors. Mr. Magorium's Wonder Emporium is not short on bright colors. Thankfully, writer-director Zach Helm has the good sense not to forget to tell a good story as he dazzles us with color and the magic of the toy shop.
Dustin Hoffman is no doubt channeling a bit of Willy Wonka in his Mr. Magorium. In fact, it's just the combination of Gene Wilder's sneaky, smarmy Wonka and Johnny Depp's wackjob, childlike Wonka. The combination works to make Mr. Magorium a terrifically funny and unique character like a grownup Pee Wee Herman.
Natalie Portman's pixie-ish beauty is the perfect casting for Mr. Magorium's Wonder Emporium even if her performance has a few off notes. Ms. Portman is always a joy to watch but as written her character is the roadblock that keeps Mr. Magorium's Wonder Emporium from taking off as a truly great movie. As written Mahoney doesn't want to own the magical toy store but it is a struggle for Portman herself to make this feel true.
As cheery and fun as she is and the way she lights up at the magic all around her, it is nearly impossible to believe that she wouldn't jump at the chance to own her own magical toy shop. She seems born to the job. Thus, the film flounders as it tries to keep Mahoney from her destiny and we must wade through a few to many scenes of her doubts and realizations.
Mr. Magorium's Wonder Emporium is the kind of family entertainment you won't mind the kids picking up on DVD or catching on cable on a Saturday afternoon. It's harmless and playful and full of imagination and color. That's more than you can say about a number of the so-called 'family movies' we've seen in the past few years. I'm looking at you Cheaper By The Dozen and Are We There Yet.
Director Zach Helm has a masterpiece in his future and based on the wildly imaginative Mr. Magorium's Wonder Emporium, it ought to be quite eye-catching.
Movie Review Night at the Museum Battle of the Smithsonian
Night at the Museum Battle of the Smithsonian
Directed by Shawn Levy
Written by Thomas Lennon, Robert Ben Garant
Starring Ben Stiller, Robin Williams, Amy Adams, Hank Azaria, Christopher Guest
Release Date May 22nd 2009
Published May 21st, 2009
It was a novel idea. Museum characters come to life at night thanks to a magical golden tablet from ancient Egypt. The premise of the 2006 Night at the Museum was destined to succeed on novelty alone. What a shame it was that no one thought to add depth, complexity or humor beyond the fall down, go boom variety.
But, as I said, the original Night at the Museum had novelty on its side. Now comes Night at the Museum Battle of the Smithsonian and the novelty has definitely worn off. What's left is a sloppy mess of out of control comic actors riffing into oblivion, searching blindly for jokes as they dress in funny costumes.
Ben Stiller is back as Larry Daley. Since we last met Larry he has given up the night watchman gig for one as an inventor and cheese ball late night infomercial star. Sure, he goes back to the museum on occasion where he is for some reason allowed to come in at night and wander around after everyone has left and apparently he was never replaced? On his next visit to the museum, Larry finds that his old friends who come to life at night are being carted up and shipped off to storage at the National Archives, beneath the Smithsonian in Washington D.C. Larry spends one last night with his friends and then accepts that it's over.
Well, of course it's not over. Larry's old pal the slapping capuchin monkey stole the gold tablet before he left and now he and the other museum dwellers are under siege beneath the Smithsonian, attacked by an evil awakened Egyptian pharaoh, KahMunRah (Hank Azaria). Now Larry must travel to Washington, sneak into the archives and save his friends.
Along the way, wouldn't you know it, he makes a bunch of new friends including Abe Lincoln, from the Lincoln memorial, Rodin's The Thinker (the voice of Hank Azaria), General George Custer (Bill Hader) and most importantly, Amelia Earhart (Amy Adams) whose nose for adventure turns her into Larry's partner and briefly his love match.
My explanation of the plot gives it far more order and structure than is actually in the movie. The film itself, once again directed with hack imprecision by Shawn Levy and written by the slipshod, logic free duo of Thomas Lennon and Ben Garant, rolls out plot points and characters and leaves them dangling with little to do but look funny, even as they don't do or say anything funny.
As they did in the first film, Levy, Lennon and Garant are convinced that the premise is the movie. Museum characters come to life, boom we're done. That's it, they set up the premise and hope that a movie develops around it. It doesn't. This strands Stiller and Azaria especially, who spend minutes of screentime performing improv material, searching in vain for a joke not supplied to them.
As Azaria and Stiller grope for jokes, Oscar nominee Adams steals scene after scene on sheer energy and cuteness. She's just as stranded as everyone else in this plotless mess but at least she's got that smile and natural beauty to fall back on. Stiller and Azaria are clearly better when the joke is given to them and not when they have to dig it out of a plotless morass.
Now, this is me asking the question that I am not supposed to ask. The director and writers of Night at the Museum don't care about this, hence why they don't supply the answer. Nevertheless, I am baffled by the physics of the tablet. It brings museum pieces to life at night right? But, how close do they have to be to the tablet? Once you are brought to life does the tablet matter? How close does a museum piece have to be to come to life? In the first film it was just the New York Museum of Art, in the sequel it is the Smithsonian but as we learn the Smithsonian is several museums plus the Lincoln memorial. Do they have to have seen the tablet to come to life? I know I am not supposed to care but it irritated me.
This is definitely a brain free environment but I was irritated by the anything goes, nothing matters approach of Night at the Museum Battle of the Smithsonian. Maybe, I would be more forgiving if the movie were funnier. I understand that what is required here, because this is merely a product, is that it is safe for kids (Won't scare'em or offend their delicate sensibilities) and that it is bright, cheery and loud but I can't get past the idea that every movie, even those created only as products, should aspire to something slightly more.
Night at the Museum Battle of the Smithsonian has zero aspiration, zero rules, zero plot and most egregiously, zero laughs.
Movie Review Night at the Museum
Night at the Museum (2006)
Directed by Shawn Levy
Written by Thomas Lennon, Robert Ben Garant
Starring Ben Stiller, Owen Wilson, Dick Van Dyke, Steve Coogan, Carla Gugino, Robin Williams
Release Date December 22nd, 2006
Published December 21st, 2006
As movie pedigrees go, Night at the Museum could not have an uglier ancestry. Directed by Shawn Levy, the man behind both The Pink Panther and Cheaper By the Dozen, and written by Thomas Lennon and Ben Garant, who despite being brilliant on TV's Reno 911 have written scripts for cinematic flotsam like Taxi, Let's Go To Prison and The Pacifier. Ugh!
It is a wonder then how they managed to net, for their latest movie Night At the Museum, some all star comedians for an all star cast. Led by Ben Stiller, the cast also includes Owen Wilson, Steve Coogan, Ricky Gervais and Robin Williams. However, even a cast as brilliant as this cannot overcome the work of the behind the scenes 'talent' at work on Night at the Museum, an aggressively aggravating work of computer generated ridiculousness and family movie clichés.
I must admit, the idea behind Night at the Museum is very clever. At night at the natural history museum in New York the exhibits come to life and wreak havoc thanks to a mummy's curse. It's up to the new night security guard Larry (Ben Stiller) to keep the chaos from spilling out into the streets of New York and keep the exhibits from perishing in the light of day.
Larry is left this task after three longtime night guards, played by legends Dick Van Dyke, Mickey Rooney and Bill Cobbs, are let go. Let's just say they are a little bitter about being let go. They are kind enough to leave Larry an instruction manual but when Larry gets cocky, thinking he knows how to handle this situation, things go from weird to worse.
Larry would not have taken this job but his ex-wife Erica (Kim Raver) threatened to take away his son Nick (Jake Cherry) if he didn't find a steady job and place to live. No points for guessing that Nick will get in on the museum madness. You also get no points for guessing that the pretty museum tour guide, played by Spy Kids star Carla Gugino, will become Larry's love interest.
The best part of Night at the Museum is Robin Williams as President Teddy Roosevelt. Coming to life nightly to ride his horse throughout the museum, Williams' Mr. President is the most helpful of the museum exhibits and of course when it comes to delivering the moral of the story who better than a former President. Of course, Williams can't help but ham it up a little, but you expect that from Robin Williams.
Ben Stiller seems at a loss to keep up with the goofy CGI madness of Night at the Museum. Rushed through the exposition, his character is essentially a deadbeat who nearly loses his kid because he's so lazy. Not exactly a winning character. Once inside the museum, Stiller's Larry vacillates from coward to cocky but mostly just runs around confused and angry.
Director Shawn Levy and writers Garant and Lennon hit all of the typical family movie beats, a lesson learned, bathroom humor and a monkey. They also toss in a couple action movie clichés for good measure including a chase scene involving an ancient stagecoach and a miniature SUV. Trust me, my description reads far more interesting than the actual scene.
With comic talent like Stiller, Williams, Wilson et al, it would seem impossible for the film to completely fail and I guess it doesn't fail completely. Stiller can't help but wring a few laughs out of a character who's only characteristic is frustration. Frustration is Stiller's milieu. Owen Wilson and Steve Coogan have a good banter but their parts are tiny, literally and figuratively.
Ricky Gervais really gets short shrift. Why hire one of England's premiere comic talents for a role that doesn't give him any room to breathe. As the crusty museum curator, Gervais has no jokes in the movie, he is simply in place to punish Stiller's Larry and then disappear. It's as if he was hired just to make the film more profitable in England where having his name on the poster might sell a few tickets.
I honestly wonder if comedians like Ben Stiller and Robin Williams accept parts in movies like Night at the Museum in some kind of Hollywood style community service program. Studio heads put it out there that if stars will work on family movie garbage like Night at the Museum then they will get the chance to work on projects the stars really want to make. Can there be any other explanation as to why talented people make such terrible films, often in this basest of genres?
I cannot deny that at the screening I attended the target audience for Night at the Museum laughed loudly and often. Little children will, sadly, find a lot they enjoy about Night at the Museum which manages to find a number of lowest common denominator moments just for the kids. For my money however, I can't imagine why, with a satisfying, smart and genuinely touching family film in theaters like Charlotte's Web, why anyone would waste money on Night at the Museum.
Is it just that Night at the Museum is louder than Charlotte's Web? I'm just trying to understand.
Movie Review Mirrors
Mirrors (2008)
Directed by Alexandre Aja
Written by Alexandre Aja, Gregory Levasseure
Starring Kiefer Sutherland, Paula Patton, Amy Smart
Release Date August 15th, 2008
Published August 14th, 2008
The fact is, Kiefer Sutherland is forever his 24 character Jack Bauer. Blessing or curse? That is for Sutherland himself to decide. Regardless, Jack Bauer is a pop culture icon and sitting down to watch Kiefer Sutherland pretend not to be Jack Bauer in the new horror flick Mirrors, I got just what I expected, a Kiefer/Jack head down, eyes forward badass with a purpose This works for Jack Bauer, not so much for Ben Carter the protagonist of Mirrors whose Jackism prevents him from connecting emotionally in the ways necessary to deepen the puddle deep ambitions director Alexandre Aja brings to Mirrors.
Based on a 2003 Korean original, Mirrors stars Kiefer Sutherland as the new night watchman at a burnt out old department store where only the mirrors seem to have survived the blaze that killed 40 some people, some years earlier. It is not long after accepting the job that Ben begins to notice something strange about all of those oddly pristine mirrors
The mirrors in fact not only reflect reality but have a reality of their own for anyone looking at them. On one of his first nights in the store, Ben nearly burns to death as a mirror shows him covered in flames. There are no flames but the pain feels real. Of course it could have something to do with the pills Ben is taking to overcome a drinking problem. Is psychosis a side effect?
As all of this is happening at work, Ben is trying to win back the love of his wife Amy (Paula Patton) who threw him out of their home because of his drinking. The couple has two kids that Ben still see's but Amy is resistant to him returning, especially after he starts babbling about the mirrors coming to life and trying to kill him.
That is a determinedly vague description of the plot of Mirrors. Even though I didn't like the movie, I don't want to ruin it for those inclined to see it. The thing is, this isn't that bad a movie, just not very original and not even a good rendering of a formula. More derivative than dramatic, more pushy than thrilling, Mirrors is yet another of those horror movies where things leap and make noise off screen for effect.
Birds flap their wings at ear snapping volumes, doors creak and slam louder in this creepy department store than they do anywhere else. Then there is the score which builds to obvious and unoriginal orchestral spikes meant to quicken the pulse. They do, but the payoffs are more often cheap and irritating than edge of your seat exciting.
The main reason I didn't enjoy Mirrors has much to do with the skill-less direction of Alexandre Aja. This horror movie hack with a real taste for the ugly sides of humanity, directs Mirrors with little care for developing the plot beyond mirrors being bad and Kiefer Sutherland fights them. The director of The Hills Have Eyes remake and the trashy High Tension, directs Mirrors minus any plausible explanations, rules or guidelines for his killer of title.
Why do the Mirrors kill? Why do they kill who they kill? A movie doesn't need to explain everything, but Aja is so deliberately vague that it becomes obvious even the director has no idea what drives the evil of the plot. Instead, Aja sits back and waits for the plot to reveal itself. It never does. Mirrors, like The Grudge, The Ring, The Eye and Shutter before it; is just another lame teenagers in danger movie ripped from a likely superior Korean version. Even if you love Sutherland as badass Jack Bauer, you aren't likely to be moved by his listless head strong imitation Jack Bauer in Mirrors.
Movie Review Mirai
Mirai (2018)
Directed by Mamoru Hosada
Written by Mamoru Hosada
Starring Rebecca Hall, Victoria Grace, John Cho, Daniel Dae Kim
Release Date August 12th, 2018
Published August 12th, 2018
Mirai may be the best challenger to Ralph Breaks the Internet in the race for the Best Animated Feature Oscar. This minimalist, dreamy, family drama from director Mamoru Hosoda evokes the best works of Hayao Miyazaki and it’s not merely because they share Asian characteristics. Like the best of Miyazaki’s work, Hosada’s Mirai is a deeply humane and gorgeous work brimming with empathy, wonder and humor.
Mirai tells the story of 4 year old Kun. Heretofore an only child, Kun appeared to be excited about having a sibling when mom and dad left for the hospital, leaving him with his grandmother. But, now that the baby, Mirai, is home and getting all of mom and dad’s attention, Kun is not happy. In fact, Kun openly states that he hates Mirai. Being that he is 4 years old his words don’t carry much weight but he appears to mean it as much as he is capable of understanding complex emotions.
Kun’s journey will be about learning to accept the world as it is and not as he wants it to be and that journey is filled with wonder and imagination. Having had a fight with his mother, Kun retreats to his backyard which finds overtaken by a bizarre fantasy world. Here, Kun meets his dog Yuko, but in human form. Yuko tells Kun that he felt the same way about Kun when he came along and replaced Yuko as the center of the parent’s world.
Yuko, being the soul of a dog, doesn’t have much insight beyond what I just mentioned but he’s mostly a way of introducing these remarkable fantasy sequences. The standouts of the fantasy sequences come when Kun meets Mirai from the future, as a teenage girl. Mirai needs Kun’s help because she can’t be seen by their dad. The consequences are unseen on screen but the sense of the dangers of time travel are brushed over in a lovely, writerly way.
Kun has two more huge encounters that will help him to shape who he will become but I won’t reveal those here, you need to see the movie. These formative daydreams have an urgency and vitality that is missing from many of modern Hollywood’s animated creations, outside of Pixar, of course. The dreamy animation and the loosely flowing story that floats in time and, in one beautiful scene, floats in space spreading a sort of euphoria over the audience as it goes.
The animation of Mirai is first rate and the English language cast is first rate. John Cho voices Kun’s father and Rebecca Hall is the voice of Kun’s mother. Hall’s ability to communicate warmth and tenderness and be almost comically cruel can be a tad jarring but there is a reason for her unique portrayal that comes out in another fantasy sequence, equally a must see as the others I have alluded to.
Mirai is showing as a limited engagement in the Quad Cities this weekend and will be made available for on-demand streaming in a few weeks.
Movie Review Please Give
Please Give (2010)
Directed by Nicole Holofcener
Written by Nicole Holofcener
Starring Rebecca Hall, Catherine Keener, Amanda Peet, Oliver Platt
Release Date April 30th, 2010
Published August 12th, 2010
Writer-Director Nicole Holofcener “Please Give” is one of the best movies of 2010. This wonderfully warm, human drama/comedy about people struggling to better themselves and connect with others, striving and failing and striving again is so relatable and revealing of not just its characters but its audience it should be taught in humanities classes.
Katherine Keener, star of all of Me. Holofcener's movies, stars in “Please Give” as Cathy, the proprietor of a furniture store that specializes in buying the furniture of dead people from grieving families who don't realize the value of what they are selling. Naturally, there is a little bit of guilt attached to this ghoulish profession, guilt that is compounded by another ghoulish enterprise in her life.
Cathy and her husband Alex have purchased the apartment next door to their own, an apartment that is currently inhabited by Andra (Ann Guilbert) a 90 something year old woman in not so great health. Cathy and Alex are essentially waiting for the old woman to kick off so they can knock down a wall and expand their space. Cathy feels horrible about this and her guilt is again compounded by Andra's doting granddaughter Rebecca (Rebecca Hall) who in her standoffishness tacitly calls out Cathy's ghoulishness.
Cathy attempts to alleviate her guilt by becoming a volunteer. She tries helping out at a retirement home and is overcome by the sadness of people waiting to die. She tries helping out kids with autism and again she is overwhelmed. In a powerful scene that defies description of its emotional power Keener breaks your heart, hiding in a bathroom stall. It's one of a number of small moments that make Please Give so remarkable.
Parallel to Cathy's story is Rebecca's story. Lonely and sad, Rebecca waits on her unappreciative granny and watches the world go by. Rebecca's sister Mary (Amanda Peet) is far less circumspect in relation to grandma, dismissing the old woman and callously waits for the old woman to croak so that she can be done with the whole thing.
Peet has a masterfully awkward scene when she, Rebecca and grandma are invited over to Cathy and Alex's apartment for dinner. Peet's indelicate questions about just what renovations will happen in the apartment once grandma is gone, right in front of grandma, make for dark humor and set Peet up for scenes later in the film that will resonate deeper. You can assume that she will be humiliated and redeemed but you must see these scenes to truly get the impact.
Much of “Please Give” defies a basic description. The acting is so wonderfully subtle and un-dramatic. The shifts in tone come in glances and nods and not in emotional breakdowns and obvious speeches. There is nothing wrong with a good monologue, mind you, but the material in “Please Give” doesn't call for it, even when you might be expecting it. Nicole Holofcener's amazing talent in “Please Give” is recognizing exactly what each scene needs on a basic dramatic level and allowing the actors space to give the perfunctory something beyond the words. With a cast this brilliant it makes Holofcener's gift seem minimal but it's more that it just doesn't play as obvious.
Catherine Keener and Rebecca Hall deliver Oscar quality performances in “Please Give.” In her longing to be a better person, her faults and her failures, Keener finds a place she's never been before on screen. Rebecca Hall stuns in “Please Give” with her remarkable vulnerability. The notes that Hall plays in “Please Give” are delicate and graceful and far more intricate than I can describe. So much of “Please Give” is subtle and minimalist and should be left to you as a viewer to discover. I will merely say again that “Please Give” is one of the best movies of 2010 and urge you to seek it out.
Movie Review: Babel
Babel (2006)
Directed by Alejandro Gonzalez Inarritu
Written by Guillermo Arriaga
Starring Brad Pitt, Cate Blanchett, Gael Garcia Bernal, Rinko Kikuchi
Release Date October 27th, 2006
Published November 24th, 2006
Writer Guillermo Arriaga and director Alejandro Gonzalez-Inarritu are the masters of oppressive atmospherics. Their films have an enveloping sadness that makes early German expressionism seem downright giddy in comparison. Amores Perros and 28 Grams are both exceptionally well made and involving films but neither is an experience that most film goers can take more than once.
The same could be said of their latest, and allegedly final, teaming the towering drama Babel. This multi-arc drama about the fabric of life woven across borders is an overwhelmingly sad experience. Ostensibly the travels of one weapon and the lives it destroys, Babel follows the path of violence, racism and loneliness around the globe in one fascinating and wearying film.
This review contains spoiler information. I recommend you see Babel before reading this review.
In Morocco an American couple, Richard (Brad Pitt) and Susan (Cate Blanchett) are on a vacation with a lot of subtext. Susan doesn't want to be here, Richard can't imagine being anywhere else because anywhere else would remind him of the pain back home. The two lost a child and blame each other for it. The pettiness that followed the child's death has driven what would seem to be an insurmountable wedge between them.
In one fell swoop however all of Richard and Susan's problems become meaningless. Traveling on a bus in the midst of the desert; a bullet pierces the window next to Susan striking her in the shoulder. Bleeding heavily and with the only hospital four hours away on this creaky old bus, Richard and the traveling interpreter Anwar (Mohammed Akhzam) make the rash decision to head to a tiny Moroccan village, Anwar's home, where a veterinarian is the only available doctor. They will wait there as international intrigue and red tape hold up a rescue by the American embassy.
Back in Richard and Susan's home, their two remaining children are being cared for by their nanny, Amelia (Adriana Barraza). Her son is getting married and she has plans to be there but with Susan being shot, mom and dad will not make it home any time soon. In a rash decision, after exhausting all other possibilities, Amelia decides to take the children with her to Mexico for the wedding. A fateful decision given her hotheaded nephew Santiago (Gael Garcia Bernal) and his penchant for trouble.
Just watching the way Santiago carries himself on the drive to the wedding, and at the wedding, you can sense trouble coming and as they wait to cross the border back to America, Santiago, slightly inebriated and carrying a weapon he doesn't want found, you can see the trouble coming and it leads to a drawn out series of heart rending scenes that find Amelia and two young children wandering in the desert before sunrise in search of the border.
The connections between those stories are clear as are the consequences. The third of the stories told in Babel has only a tenuous connection to the rest. Rinko Kikuchi plays Chieko a deaf mute teenager in Japan whose mother has died, an apparent suicide, and her father Yasujiro (Koji Yakusho) is absent. Chieko is obsessed with sex and is adventurous in the ways only an inexperienced teenager can be.
Chieko's father provides the link to the other stories, his own trip to Morocco and to leave as a gift for his guide, a Winchester rifle, is the catalyst of the whole story. The rifle falls into the hands of a pair of very young goat herders Yussef (Boubker Ait El Caid) and his brother Ahmed (Said Tarchani) and as they childishly test the weapons power and distance; they touch off an international wave that soon consumes them and everyone else.
The multi-layered stories told in Babel are filled with sadness, heartbreak, redemption and humanity. Gonzalez-Inirritu and Arriaga craft a story that while it is extraordinarily well told, it is also oppressive in its sadness and human tragedy. Yes, the sadness and tragedy reveal truths about humanity and love but the journey is arduous and not one you will likely want to take again.
Of the performances, the bravest is young Rinko Kikuchi's who reveals so much of herself, emotionally and physically, that her presence becomes unnerving with every appearance. Though her connection to the plot is tenuous her overall disconnection in her life, through her impairment and her emotional state, she becomes a metaphorical conduit for the the disconnectedness of the other characters in the film.
While Cate Blanchett's role is limited by her character's injury, Brad Pitt as her husband has a number of meaty moments and nails each one of them. Pitt has always been a star but in Babel Pitt shows a maturity that is more than just his newly graying temples. Stripped of his charm, his model perfect features masked by an ugly salt and pepper beard, Pitt is a real human being in Babel rather than the movie god of the past. It's a transformative performance and a potential academy award nominee.
Director Alejandro Gonzalez Inirritu is so observant of his characters and so delicate in telling their stories that his films can kind of sneak up on you emotionally and devastate you more with unexpectedness than most other films. His gentle observation is given an edge by a propellant story by Guillermo Arriaga that moves inexorably towards tragedy. Every step of the way feels inevitable even as we silently call out to these characters to make different choices, the choices that are made are fated and that much more powerful in demonstrating the characters powerlessness.
Babel is a movie of such profound, claustrophobic, sadness that to assign popcorn entertainment aspects to it seems a futile, almost disrespectful thing. The most appealing thing about the film, the reason to see the film, is for the performances. This exceptionally talented cast will be a big part of the Oscar telecast in February.
I have already praised Rinko Kikiuchi's brave and revealing performance. Her main competition in the Best Supporting Actress race is likely to be co-star Adriana Barraza whose Amelia makes wrong decisions from the first moment but still manages to win your sympathy. No matter the circumstance, son's wedding or no, there is no way to justify her taking those two very young children to Mexico, and yet Barraza makes us understand this decision and easily holds our sympathy as things spin tragically out of control.
If I have one issue with Babel it is the Jobian sadness heaped on Pitt and Blanchett's characters. They are a married couple who are on vacation recovering from the loss of a child when Blanchett is shot. As she is in surgery in Morocco, her remaining children are facing grave danger in the desert border between Mexico and America. Are we to believe that such tragedy could be heaped on one family in such a short time? It's a minor quibble and the drama and storytelling being as strong as they are make it easy to forgive.
Babel is oppressively sad and not a movie you will likely experience more than once. As an experience however, it is more than worth having once. Well acted, written and directed, Babel is an almost certain Oscar contender so if you are a fan of Hollywood's biggest night you will want to have seen the movie that will likely over-populate the acting categories. Babel is an extraordinary film for fans of great drama and great filmmaking. If an experience of near un-ending tragedy and heart wrenching sadness is not the kind of moviegoing experience you want, then I would not recommend Babel.
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